Andra Douglas
Andra Douglas left Florida for NYC in the 1980’s to earn a Master’s in Communications from Pratt Institute. She has lived in New York for over thirty years. Originally from Zephyrhills, a tranquil town in Central Florida, she attended Florida State University, playing Rugby and excelling at golf while majoring in communications design to hone her art and photographic skills. Next, Andra ventured into publishing at Cosmopolitan magazine, continuing to an executive position as creative director for Atlantic Records, after which she was an independent consultant for the entertainment industry with clients like Disney, Universal Records and BMG Music.
In 2000, she acquired the NY Sharks, a women’s tackle football team, for which she also quarterbacked. Shortly afterwards, Andra established FINS UP, a foundation that strengthens young women’s self-esteem through participation in team sports. Her first book, “Black and Blue”, touches on her life experience as a non-conforming female growing up in a conservative rural environment, and the subsequent unfurling of her life as an empowered executive and pioneer for women in American football.
In a recent show, ‘Phizog’, Andra was inspired by the diversity of the players. She offered this work as a tribute to the female football players of all leagues and ages fueled by the force of their convictions. With renewed fervor, Andra Douglas has returned to the studio, creating artwork that manually layers mixed media on her digitally manipulated printed images. Her perspective communicates “made in America for the world”, delivering a distinctive artistic message.
The art of Andra Douglas tries to capture a passing moment. In ‘Elegiacal’ she touched on rural scenes with a wistful tone. She returns to these moments with her new show ‘Exit 65’. Themes of loss, adventure, mystery and celebrations of landscapes and passages are evident in the work. Distant blurred images of people in motion as well as abstracted images of ‘Red Car’ creating a drama of stillness, add to the force of the show.
Raised on a ranch with a father whose church was nature, she learned by watching colors, animals and seasons. She has developed her technique with mastery, command and fluidity.
Julie Torres
Julie Torres is a fine artist specialized in the mediums of painting and printmaking. A lawyer-turned-artist, her work is often the confluence of legal issues with nature, society, and the artistic practice. Miller explores the delicate balance between various systems: natural, artificial, and societal. The aesthetic of “the delicate” and “the beautiful” are common threads connecting much of her work.
Born in Boise, Idaho, and raised in Tallahassee, Florida, Miller graduated with a B.A. and a J.D. from the University of Florida, an LL.M. from the University of Miami, and most recently in June 2016, a B.F.A. in Printmaking from the Savannah College of Art and Design. As a fourth-generation Floridian, the Florida landscape and its fragility have served as a sources of inspiration for much of her work. Miller’s work is in the private collection of Jordan D. Schnitzer and collections of the Savannah College of Art and Design and the Ritz Carlton. She currently lives and works in Atlanta, Georgia.
No Sensible Judge, 2016
Multilayered one of a kind print with gold leaf
31 x 31 x 1 ½ in
79 x 79 x 2.5 cms
Ricardo B. Sanchez
Ricardo B. Sanchez
born 1953.
As a photographer creates forms by painting with light. Film (or a digital back for his camera) is his canvas, the camera and lenses are his brushes, and light is the paint with which he reproduces an image.
Sanchez enjoys investigating how we live in the world, and photography is a language with which he studies, records and learns from the journey through the various stages of his life. His curiosity for discovering a path, recognizing the risk and feeling the fear and courage that are part of the creative adventure are embedded in his reality. The complex art of living fascinates him and for Ricardo, the fine arts are a sophisticated reflection of this art, of our choices.
“The notion that photography stops time only serves our memory, but the reality of life is that all things are impermanent, in a constant and unending flow of changes. So a photograph, like all art forms, reminds us of what we can do to celebrate or condemn the very nature of our existence. It is a showcase for our achievements and contradictions. The ability to recreate a photographic vision is something akin to the realm of alchemy, magic, or the power of transformation…I have always been intrigued by how photography allows me to create an illusion, a strange and idealized connection between the external world and what is inside of my head. My photographic work metaphorically illustrates concepts of identity, power, love, fear, manipulation, seduction, deception, illusion and truth, among others. Photography allows me to generate hope that some level of conscious transformation is possible; that there is light at the end of the tunnel.
Limited edition (5) work from Encounters|Water series available in various sizes
Beth Radford born Australia, 1981
Beth Radford explores the relationship between order and beauty in an intricately ordered natural world that is simultaneously chaotic and unpredictable.
Full of pattern and progression, symmetry and sequence, repetition and replication an incalculable number of influences and interactions affect existence.
Her paintings always begin with a highly structured pattern that is then modified by colour according to her personal influences at the time.
Radford devises simple systematic strategies in order to create a geometric framework that, although conceptually simple, appears complicated and intriguing.
Inventing these systems is an intellectual challenge and requires a methodical approach to trying different permutations and variations. She subsequently experiments with color in her particular instinctive and exciting process. Even within the confines of grids the possibilities are overwhelming.
Coloring adds joy and surprise, intention and accident to what would otherwise be highly ordered and predictable constructions.
While inviting intellectual involvement —for viewers to puzzle over the composition and construction, to question the relationship between shapes and the interactions of the colors—these works are not only conceptual, they are emotional and personal, influenced by factors deliberate and unconscious.
Blue Surge , 2017
Acrylic on canvas
36 × 72 × 1 in
91.4 × 182.9 × 2.5 cm
Blueshift IV, 2017
Acrylic on Canvas
24 × 84 × 1 in
61 × 213.4 × 2.5 cm
Greydations, 2018
Acrylic on Canvas
24 × 84 × 1 1/2 in ( vertical or horizontal orientation)
61 × 213.4 × 2.5 cm